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This is a widely held belief for numerous people that sharing custody a canine companion after a breakup is a recipe for trouble. The consensus suggests such setups impede former couples from finding closure, lead to scheduling chaos, spark arguments, and prove frustrating for everyone involved. Apparently, and in a twist fit for a direct-to-platform film, it also makes our furry friends to feel down.

Without minimizing the mental health of dogs – countless people observe their deep emotional capacity. To witness a prime example in canine melancholy, simply recall another performance. I firmly believe that a dog like Merv, a wired-hair terrier mix played by a talented dog named Gus, would find it difficult adjusting to life in two homes. Whether this premise a full holiday film around this situation is sustainable is debatable at best.

Standard Holiday Fare

To its credit, Merv, crafted by its screenwriters and under the guidance of Jessica Swale, doesn't pretend to be anything more than a light film. We have here a holiday release from a major tech-and-media conglomerate – the complexity are modest. Its storyline unfolds as simple and direct: former spouses Russ (Charlie Cox) and Anna (Zooey Deschanel), confronting that their individual funk is matched by their dog's, take a therapeutic trip to a dog-friendly resort. There, inevitably, they will surely stumble toward the idea that they belong with each other. The supporting cast – played by familiar faces – serve as quirky, thinly written, or broadly comic. Its aesthetic has the quality of a streaming service original, with a holiday backdrop that is clearly manufactured – exemplified by flurries surrounding lush pines as a warm climate stands in for the Northeast.

Where the Film Shines

Whether these familiar elements come together into an entertaining watch depends on the actors' work and an acceptance of easy entertainment. On the latter point, Merv knows its audience – those people who seek out for cute animal clips. Audiences receive a wealth of canine-centric sequences. The main attraction is the canine star, and even if it causes some awkward editing between the pet's "lines" and the actors' responses, the movie succeeds in showing dog beach fun, pet moping, and, in the end, pure puppy happiness.

Where It Wobbles

The same praise does not extend for the interpersonal drama. Its style wavers between serious study, wacky comedy, predictable love story, and physical comedy, not quite landing a single genre. This is not Cox's performance, who is willing to embrace the humiliating and funny demanded of the dog resort scenario. He brings a charming humility that offers a significant portion of the appeal for this ostensibly perfect couple. Zooey Deschanel, as is her trademark, injects a particular brand of eccentricity that will be to your taste or not. The character can feel a little too aloof, notably when contrasted against Cox's genuine sadness. (On another note, Gus the Dog succeeds in looking despondent – he may not be a canine thespian of that caliber, he's definitely an excellent dog.)

The film attempts to add substance to the central romance for scenes without their pet – a regrettable choice, considering Merv is undoubtedly the most adorable aspect of this feel-good picture. As one might predict, it meets the bare minimum. The reason for the split might seem more adult and realistic with more screen time and more subtle storytelling. In the end, Merv is gentle and pleasant, meeting every expected note. Creating a movie with this canine conflict has potential – but it's not exactly a brilliant concept.

• Merv premieres on Prime Video this December.